In Praise of D3's Plot

chamr

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Through the series of D3 debates we’ve had on this site, it dawned on me in addressing the story criticisms and thinking about the plot more deeply that Diablo almost pulls off arguably the greatest series of double crosses, manipulations and usings in video game villain history. Big Red deserves some props, and the writers behind D3 deserve some too.

As I get into this, there are 3 principles it’s important to keep in mind:

- Evil never really dies. This is mentioned here and there throughout the cannon. To simplify, it seems it exists in one of 3 states: soulstone, manifest in a physical host, or floating about in the ether somewhere.

- The Soulstones are acknowledged to be flawed. They don’t work right or exactly as intended. They hold Evil at bay somewhat, but they aren’t the final solution. Even Tyrael can’t guarantee they work the way he thinks they should.

- The single, biggest obstacle to Evil winning over Good is their constant infighting and treachery.

With Diablo 1, it’s obvious that the Soulstones can’t completely contain the Prime Evils. They only seem to slow them down a great deal. The Prime Evils can still reach out and possess new hosts. Let’s say that around this time, not only does Diablo realize this, but he also becomes aware that Zoltun is working on the super Black Soulstone. It strikes him then that he can use this new super Soulstone to finally overcome Evil’s greatest failing: divided and competitive leadership of the forces of Hell. As long as the Black Soulstone is also ultimately flawed and therefore exploitable, and Zoltun’s mortal folly of hubris ensures as much, Diablo can use it to finally unite the Prime Evils and the Lesser Evils into a single being: himself. But he’s got some work to do.

First off, he’s got to get out of Tristram and free his brothers from their individual Soulstones so that they can be captured in the Black Soulstone. So, he manipulates the king in such a way as to bring a great hero on the scene to act as a temporary carrier. He then uses the hero to use Adria as a vessel for his ultimate host, Leah. Why? Because he knows that The Wanderer is not the final answer and that the heroes of Sanctuary will eventually catch up with him. It’s also a convenient diversion from the ultimate host. The heroes will never know about Leah if they’re busy chasing The Wanderer all over the countryside. He just has to make it far enough with The Wanderer to get all the Primes free from their individual Soulstones. The kicker is that he actually wants them killed by the heroes, so he plays along with their short-sighted plan to immediately attempt a take-over of Sanctuary. He plays his own brothers for suckers. Again, why? So that they can be defeated and their individual Soulstones can be destroyed in the misguided attempt to keep them at bay once and for all thus leaving their souls in the ether to be captured in the Black Soulstone. In reality, Mephisto, Baal and indeed even his own defeat only serve to move Diablo’s plan forward in preparing for his ultimately goal: a single, united Prime Evil powerful enough to finally take down Heaven.

In his final manipulation, he uses Adria and Leah to encourage the heroes of D3 to capture his rivals, Belial and Azmodan, in the Black Soulstone thus completing the Prime Evil recipe. Once the cake is baked, he finally has the power to storm the Silver City and get so far as to almost finish off Angel-dom by corrupting their precious source, the Crystal Arch, leaving us, the players, to save the day.

It’s frickin’ brilliant. He plays his own brothers for suckers, gets revenge on the Lesser Evils that kicked him out of Hell, and manipulates the heroes (i.e. us) over the course of 3 games to do his bidding all along. Well played, Diablo! Well played!
 
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And then he gets bitch slapped by a single nephalem after pretty much striding through heaven and all their immortal guardians unopposed.

The end.
 
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Through the series of D3 debates we’ve had on this site, it dawned on me in addressing the story criticisms and thinking about the plot more deeply that Diablo almost pulls off arguably the greatest series of double crosses, manipulations and usings in video game villain history. Big Red deserves some props, and the writers behind D3 deserve some too.

As I get into this, there are 3 principles it’s important to keep in mind:

- Evil never really dies. This is mentioned here and there throughout the cannon. To simplify, it seems it exists in one of 3 states: soulstone, manifest in a physical host, or floating about in the ether somewhere.

- The Soulstones are acknowledged to be flawed. They don’t work right or exactly as intended. They hold Evil at bay somewhat, but they aren’t the final solution. Even Tyrael can’t guarantee they work the way he thinks they should.

- The single, biggest obstacle to Evil winning over Good is their constant infighting and treachery.

With Diablo 1, it’s obvious that the Soulstones can’t completely contain the Prime Evils. They only seem to slow them down a great deal. The Prime Evils can still reach out and possess new hosts. Let’s say that around this time, not only does Diablo realize this, but he also becomes aware that Zoltun is working on the super Black Soulstone. It strikes him then that he can use this new super Soulstone to finally overcome Evil’s greatest failing: divided and competitive leadership of the forces of Hell. As long as the Black Soulstone is also ultimately flawed and therefore exploitable, and Zoltun’s mortal folly of hubris ensures as much, Diablo can use it to finally unite the Prime Evils and the Lesser Evils into a single being: himself. But he’s got some work to do.

First off, he’s got to get out of Tristram and free his brothers from their individual Soulstones so that they can be captured in the Black Soulstone. So, he manipulates the king in such a way as to bring a great hero on the scene to act as a temporary carrier. He then uses the hero to use Adria as a vessel for his ultimate host, Leah. Why? Because he knows that The Wanderer is not the final answer and that the heroes of Sanctuary will eventually catch up with him. It’s also a convenient diversion from the ultimate host. The heroes will never know about Leah if they’re busy chasing The Wanderer all over the countryside. He just has to make it far enough with The Wanderer to get all the Primes free from their individual Soulstones. The kicker is that he actually wants them killed by the heroes, so he plays along with their short-sighted plan to immediately attempt a take-over of Sanctuary. He plays his own brothers for suckers. Again, why? So that they can be defeated and their individual Soulstones can be destroyed in the misguided attempt to keep them at bay once and for all thus leaving their souls in the ether to be captured in the Black Soulstone. In reality, Mephisto, Baal and indeed even his own defeat only serve to move Diablo’s plan forward in preparing for his ultimately goal: a single, united Prime Evil powerful enough to finally take down Heaven.

In his final manipulation, he uses Adria and Leah to encourage the heroes of D3 to capture his rivals, Belial and Azmodan, in the Black Soulstone thus completing the Prime Evil recipe. Once the cake is baked, he finally has the power to storm the Silver City and get so far as to almost finish off Angel-dom by corrupting their precious source, the Crystal Arch, leaving us, the players, to save the day.

It’s frickin’ brilliant. He plays his own brothers for suckers, gets revenge on the Lesser Evils that kicked him out of Hell, and manipulates the heroes (i.e. us) over the course of 3 games to do his bidding all along. Well played, Diablo! Well played!

It's either brilliant or the most unbelieable manipulation in a story. And I'm leaning towards unbelieveable, because I just find it too far stretched. Way too many things have to happen in order for this plot to come to pass.
 
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As I get into this, there are 3 principles it’s important to keep in mind:

- Evil never really dies.

Contamporary stories are often built so that, as you say

- evil never dies

but good dies very much. especially in games. Good is to be eradicated at one point (everything, and I mean EVERYTHING, no matter how immortal it is !!!) dies, except one lone hero.

The evil ones, however, never ever die in games, no matter how much you beat them. They come back at least in a sequel, where everything is resolved - so that the good ones were always mortal (no matter how much immotal they seem/appear at first), and the bad ones hd always been immortal (no matter how much mortal they seemed/appeared to be), and that - often in hard contrast to the good ones - from the beginning of the creation on.

Contemporary game stories ALWAYS make the good ones to be/appear

- smaller
- more vulnerable
- uncool
- clueless
- inferior
- tricked
- etc.

and the bad ones always appear to be

- cool
- having a great plan, so great no-one sees it through
- having success via trickery
- swimming in money
- having very cool gadgeds of any kind
- having always women around them (if human)
- always superior
- never vulnerable
- etc.

In short :

- the bad ones are the good ones
- the bad ones are successful
- the good ones are the bad ones
- the good ones are never successful - save perhaps a single hero (around whom the WHOLE game is centered !)

I once stumbled upon a thesis (or something like that; I have it as an PDF here somewhere) that states that the "evil" has been attributed with positive connotations in modern media (not only games, but media in general !), for example though games providing fun (positive emotion !), "loot" (positive !), adrenaline (positive !), the feeling of an achievement (positive !) etc. ,
whereas this doesn't happen at all with "good" having not similar connotations in contemporary media.

The real-life cliché of that is the so-called "Gangsta" : He (it's always an "he" !) is

- successful
- swims in money (the cliché of the gold chains/necklaces and rings)
- achieves success through intimidation
- through trickery
- through brutality
- is always the head of a gang
- doesn't have any problems to "charm women
- would be considered as "evil" by other parts of society

for example. This is the almost proverbial cliché of contemporar "having success by being evil" thing.

Blizzard's games only support that.

You can have fun, playing with friends, in-game success, in-game collecting, in-game valuable things - throuzgh battling against evil.

So, batling against evil = a good thing.

-> Evil = good, because it provides fun.

It's like this song : "sympathy for the devil".

I find it interesting that no developer EVER tried a different approach, like for exaple, as I once long, long, long ago wrote for RPGDot, battle FOR something (for an Angel, for example), instead of battling AGAINST something (Blizzard's games).

Because - because the thing that provides fun -> is in the end effect positive, simple because it provides fun,
so the posiive connotation ALWAYS goes towards the end boss we battle in games - because he/she/it is what in the end provides us with fun. Fun playing the game.

Good NPCs don't matter, because we might fight for them, but our story-focus-vector is directed towards the "big baddie" -> the end boss.

What happens AFTER beating him is often forgotten, because the story vector ends exactly with the defeat of the end boss who was always wih us from second 1 of the whole game on.

And if the end boss is evil, well, then it's positive, because without this end bos we wouldn't have fun.
So, evil = good, in this context.




Edit : I think I've found a book on the positive connotations of "the devil in rock song texts" : http://www.waxmann.com/index.php?id...26&PHPSESSID=be394848877f71e42d39a17a267fb487
 
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Plot? I just like to kill things and take their stuff.
 
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